When I was making the Polypaths series, I always felt the real heart of the project wasn't the final image, but the system behind it. The output is just what happens. The real magic is in the underlying logic. There are a bunch of ways to build a generative system, but with Polypaths, every single parameter is tightly linked. They all influence each other, and sometimes, when everything lines up just right, something almost spiritual just appears. The pieces on @verse_works were curated by collectors. But for the @GalerieMet version, I wanted to take the lead as the artist. My goal was to push the system further and see what else it could do. I made a few subtle tweaks, a bit of magic, you could say, and adjusted how the parameters related to each other. The result was a set of works that felt different from the previous series. This whole process really proved to me that in generative art, the structure and architecture are way more important than the final output. This is why the artist's version exists. It's not a replacement; it’s a way to show more of the system's inner life. It reveals how a complex, responsive structure can create an entire ecosystem of variations. It reminds me why I'm so passionate about generative art. It’s not just a tool for making pretty pictures, but a way of thinking, building, and seeing the world.

無數次的嘗試，人終於可以在場景中動起來，真令人興奮啊。

Maybe simulation theory is real. Creating all of this is so much fun. I can’t stop.

Not every day is a good day..

你想去哪座島嶼度假？

像個導演，成為導演。

🌊 🌴

🥊🥊

only p5js 😎

What kind of weather do you like? 👈 👉

You have to believe the details are everything. To make these little people feel alive, you need to build a world that makes sense.

I designed many settings for On the Way to the Museum. Different places, different things people do. For Southeast Asia, I added street barbers, sepak takraw, and more. I really enjoyed designing these. The artist’s job feels closer to a director’s. I like that challenge.

Have a great weekend.

空想的柏林

🚉